SPUNK & Joëlle Léandre — Live in Molde
The solo Léandre pieces, titled ‘Joëlle Léandre Solo’ and ‘Joëlle Léandre Solo 2’, respectively (all of the album tracks have these basic titles); are full of energy and movement. Delivered primarily with her double bass, but with vocal interjections and chants, Léandre displays a variety of techniques and approaches. The first piece is perhaps the more obviously adventurous of the two, with singing harmonics, thumps and frenzies of sawing. The second follows a similar route, but with clear nods to jazzy and bluesy territories along the way - and that’s not a criticism at all. The SPUNK track begins rather restrained, creating a drifting sound-world which could - at a stretch - arguably be a very exotic release for Kranky. This soon develops and opens out, though, revealing a much thornier proposition; however, the general mode of “drift” remains. Whilst it threatens to become all-out noise at points, this destination never really arrives; there is a nice sense of waiting for it to explode. The acoustic and processed sounds merge very well, to the extent that, at points, it sounds like a meticulously crafted and layered electroacoustic piece.
The three collaboration performances are really the main attraction here, and they don’t disappoint. At the risk of appearing disrespectful, I won’t make any attempt to fully summarise what occurs between Joëlle Léandre and SPUNK; there’s simply so much going on, so much to take in. At times, perhaps too much to take in. Whilst there are “quieter”, sparser sections (there’s a pause for breath in ‘Spunk And Joëlle’, as well as a longer passage in ‘Spunk And Joëlle 2’ - indeed, it winds down to a quiet ending), the prevailing effect is that of cartoonish violence and movement. I say “violence” purely as a indication of jolts, cuts and extreme kineticism: the performances never boil over into properly violent content - “noise” and abrasion, yes, but always (for me) on the playful side of the line. The playing is very nicely paced; to use a colourful metaphor, the performances are sometimes akin to a flock of birds: flying through the air in formation, separating into smaller groups and lone birds, before rejoining together - and all the while, swooping, twisting and turning. The “geological forms and flora” that I mentioned earlier, are present here; that sense of organic development, both in pace and sound terms. So much detail to be explored. There is some wonderful processing, which is always non-intrusive, and judicial in its choices. A nice example would be the turning of a cello into a shriek of balloons. In fact, there are a couple of brief sections where it feels like the machines have taken over (so to speak), and these are welcomed colour.
This is a really great, deep release; adding two, previously unknown, names to my watch-list. Whilst the non-collaboration tracks are good, it’s the combined performances that really shine here. Given that this is apparently only their second collaboration, Léandre and SPUNK already comprise a pretty forceful ensemble. The mix of instrumentation really works; the processed and electronic elements truly integrating, without unbalancing the group. If I were to pick a hole, I might complain about some of the vocalising - some of which skirts dangerously close to scat for my liking; but these grumbles would do nothing to diminish a really good release. A very enjoyable, solid and listenable album.